Concert review :: White Shoes and The Couples Company / Saycet / B-Quartet :: Singapore :: 8 November 2011

When new concert promoters, Figure8 Agency announced this gig, anticipation was high as we saw potential for greater platforms to be forged for emerging indie artists around the region. What better way to make that point than with a stellar line-up of Saycet, Franco-Lao electronic soundscape architects, homegrown eclectic act B-Quartet and the beautiful bright sounds of Indonesian retro pop group White Shoes and The Couples Company.

Held at the LASALLE SIA Theatre, the gig promised stellar sound and the perfect sense of intimacy that any indie band would crave for from their audience. The stage was set. The lights were dimmed and the aural journey began.

Songs of The Matahari

There are no words to describe the magic that White Shoes and The Couples Company bestows upon their listeners. They conjure up a feel of carefree days gone by where the pleasures of simple things are forgotten. A time of sunshine and beaches, milk moustaches and ice cream.

The sextet began their set with an impressive drum solo which served to introduce the other band members. They followed by adding layers of funky bass and groovy guitar. Aprilia Apsari then strode gracefully onstage and took the music to a fever pitch.

“Selankah Keseberang” and “Senja Menggila” were delivered in retro coolness, with the band grooving energetically along. Aprilia steered the performance with elegant dance movements, as though she was powered by a hidden time machine.

The band ended their set with the delightful “Aksi Kuching”, calling for the crowd to meow loudly in time, followed by yet another explosive drum solo by John Navid.

White Shoes and The Couples Company delivered a stellar performance, casting their sumptuous brand of indie pop that transported us all to a land where the sun never sets.

Architects of Sound

Amidst the darkened backdrop of the stage, three silhouettes swayed in time, simultaneously painting a soundscape with their experimental blend of captivating visuals, beats and haunting vocals.  Saycet comprises of Pierre Lefeuvre, a French music composer, vocalist Phoene Somsavath and visual artist Zita Cochet. Saycet’s brand of music is abstract to say the least, punctuated by gentle, delicate vocals and elegaic visuals.

The great thing about Saycet is the demonstration of their efforts to constantly take music beyond the expected, creating something deeply textured and stunning.

Throughout their set, I was taken on a contemplative journey, thanks to Zita’s hypnotic visuals. The pulsating beats seemed to echo a canvas of melancholy, longing and at times even hopefulness.

In a blink of an eye, the hour-long set was over and I was left with the reverberations of Saycet’s music firmly imprinted in my mind’s eye.

Some may say that their musical pace could be construed as indulgent, and even repetitive. Isn’t music however, by definition, an art of sound in time that takes one through a journey of different emotional expressions?

There is no doubt that Saycet does that well through the poetry of their music and visuals.

Where Daffodils Hum So Sweet

The first time I heard B-Quartet perform was at a small gig at Home Club. I remember it turned out that only lead singer Bani Haykal got onstage to perform a few of B-Quartet’s songs. By the end of that extremely short set, I thought, “If that was Bani Haykal with one guitar, a set with B-Quartet in its entirety would be epic.” I would eventually become a fan, collecting their albums and attending every possible B-Quartet gig that I could.

The performance that night had a slightly sombre tone to it for it was to be B-Quartet’s last performance. The band would be going on an indefinite sabbatical thereafter.

A small screen stood quietly in the middle of the stage which projected the profile of a cat as the band launched into their first song, “An Ontoduction”, followed by “Question Problem” packing waves of pure power in their own unique brand of rock and jazz.

The band then proceeded to perform new, untitled material. I was holding my breath for crowd favourites like “Shoebox” and “Beautiful Crash” but it was not to be. Instead they launched into “Stupid Luxury” and “Alphanumeric” which showcased what I liked most about the band –introspective lyrics set against a backdrop of experimental sounds and different influences. It was evident that the musical dialogue between each of the band members was still very much in place as Faizal and Raizen channelled explosions of rock through their guitars while bassist Luqman and drummer Hidir alternated between jazzy tempos and hooks.  Then there’s Bani. Delivering energetic vocals packed with the same frailty and earnestness that first drew me to the music of B-Quartet.

Looking back at B-Quartet’s musical pursuits, I am certain that there is no doubt that B-Quartet are one of Singapore’s greatest bands.

I can only hope that one day we can hear more of B-Quartet again, perhaps near strawberry fields where the daffodils hum so sweet.

The entire event gave us a taste of the talent that abounds in Southeast Asian indie acts and was a well-rounded pre-cursor to Up To The Sky Festival, which is shaping itself to be yet another musical gem organized by Figure8 Agency that showcases a broad range of alternative, electronic and indie bands.  Happening on 3 December 2011, Up To The Sky Festival features headliners like Mogwai (DJ set), Deerhoof, Tenderfist, Sore, The Great Spy Experiment and more.